산업화와 숲의 보호: 20세기 전환기 독일 숲의 세 얼굴

고유경 한국독일사학회 2022 독일연구 Vol.- No.50

The purpose of this article is to examine the collective identity reflected in German perceptions of forests around 1900, and to emphasize that interest in forests made them pioneers of the German environmental movement. Industrialization caused the destruction of German forests and consequently made Germans interested in forest protection. However, the motives were different for each class. If forests were important to landowners because of their economic value of increasing timber productivity, educated citizens' forests were a common asset with national identity. On the other hand, for the working class, forests played the role of teachers who consoled the reality of hard work and raised class consciousness. However, the efforts of Germans at the turn of the 20th century to protect forests, combined with such diverse motives, made them the first generation of the German environmental movement. 이 글의 목적은 1900년 무렵 독일인들의 숲 인식에 반영된 집단 정체성 을 검토하고, 숲에 대한 관심이 이들을 독일 환경운동의 선구자로 만들었다 는 점을 강조하는 데 있다. 산업화는 독일 숲의 훼손을 야기했으며, 결과적 으로 독일인들이 숲 보호에 관심을 갖도록 만들었다. 그러나 그 동기는 계 층 또는 계급별로 상이하게 나타났다. 지주들에게 숲이 목재 생산성 증대라 는 경제적 가치 때문에 중요했다면, 시민들의 숲은 민족 정체성을 담은 공 동의 자산이었다. 반면 노동계급에게 숲은 힘든 노동의 현실을 위로하고 계 급의식을 고양하는 교사의 역할을 했다. 그러나 이렇듯 다양한 동기가 어우러진 20세기 전환기 독일인들의 숲 보호를 위한 노력은 그들을 독일 환경 운동의 첫 세대로 만들었다.

역사적 사고 역량을 어떻게 평가할 것인가? 독일 HiTCH 프로젝트의 시도

고유경 역사교육연구회 2023 역사교육 Vol.165 No.-

이 논문의 목적은 독일에서 역사적 사고 역량 평가의 도구로 개발된 HiTCH(Historical Thinking―Competencies in History) 프로젝트를 소개하는 것이다. HiTCH 프로젝트의 이론적 기원은 1970년대 Jeismann의 역사의식 연구에서 출발했다. 독일의 역사의식 이론은 Pandel과 Rüsen으로 계승되었으며, 21세기에 들어와 ‘성찰적 역사의식의 진흥과 발전’을 의미하는 FUER 역량모델로 발전했다. HiTCH는 FUER 모델이 지향하는 역사적 사고 역량의 배양을 측정하기 위해 개발된 대규모 평가 프로젝트이다. 2012-2015년 진행된 HiTCH 프로젝트는 FUER 역량모델의 네 역량영역인 질문역량, 방법역량, 지향역량, 사실역량별로 15개 과제블록과 91개 문항을 제작했다. 또한 이 프로젝트의 파생 연구로 내러티브 역량, 해체역량, 구술사 학습의 효과를 진단하는 문항이 개발되었다. ‘역사과를 위한 PISA 테스트’를 지향하는 HiTCH 테스트는 현재 독일, 스위스, 오스트리아, 벨기에의 독일어권 지역에서 활용되고 있으며, 국제 역사적 사고 역량 평가의 모델로서도 주목받고 있다.

중학교 청소년의 고위험 건강 행위 관련요인

고유경,유일영,강경화,임지영,김민정,유현정 한국아동간호학회 2006 Child Health Nursing Research Vol.12 No.3

=Factors Related to High-risk Health Behaviorin Middle School Adolescents*

임상 간호사의 간호업무성과 측정도구 개발

고유경,이태화,임지영 한국간호과학회 2007 Journal of Korean Academy of Nursing Vol.37 No.3

1918/19년 빌레펠트에서는 왜 혁명이 일어나지 않았는가?

고유경 한국독일사학회 2005 독일연구 Vol.- No.9

환경교육과 평화교육의 장소, 독일 그뤼네스반트를 찾아서

고유경 평화나눔연구소 2022 인간과 평화 Vol.3 No.2

주경철·민유기 외, 『도시는 기억이다. 공공기념물로 본 서양 도시의 역사와 문화』 (서해문집, 2017)

고유경 한국서양사학회 2018 西洋史論 Vol.0 No.136

독일 환경운동의 기원 - 빌헬름 제국 시기의 애향운동을 중심으로 -

고유경 한국독일사학회 2012 독일연구 Vol.- No.24

Die frühe deutsche Umweltbewegung formierte sich gegen Ende des 19. Jahrhunderts. Getragen von Bildungsbürgern, die der fortschreitenden Wandlung des wilhelminischen Deutschlands in eine moderne Industriegesellschaft kritisch gegenüberstanden, hatte diese Bewegung ihren Ursprung in der Heimatbewegung, die die Natur und Landschaft der Heimat vor dieser Krise schützen wollte. Ernst Rudorff prägte den deutschen Heimatschutz als Oberbegriff für Naturschutz, Naturdenkmalpflege und Denkmalschutz. Er gründete 1904 den ‘Bund Heimatschutz’ als erste Dachorganisation der deutschen Heimatschützer. Die Heimatbewegung im wilhelminischen Reich hatte Vielseitigkeiten: Lokalität war ihr Ausgangspunkt, doch der deutsche Begriff ‘Heimat’ stand in untrennbarer Beziehung zur Nationalität. Einige Heimatschützer entwickelten sogar einen ‘transnationalen’ Gedanken im heutigen Sinne, obwohl solche Denkweise vor nationalen Herausforderungen nur eine untergeordnete Rolle spielte. Noch wichtiger ist die ideologische Orientierung der Heimatbewegung: in den 60er und 70er Jahren des 20. Jahrhunderts wurde sie manchmal als Vorläufer der NS-Bewegung betrachtet. Die Natur- und Heimatschutzbewegung um 1900 hatte zwar den retrospektiven Charakter. Aber sie lehnte gar nicht die moderne Industriegesellschaft und ihre Folgen ab, vielmehr arbeitete sie energisch an institutionellen und legislativen Lösungsmöglichkeiten von Natur- und Umweltproblemen. In diesem Sinne ist es nicht zu leugnen, daß die ersten Naturschützer eine offene Sehnsucht nach einer “anderen Moderne” hatten.

Mapping-Free Automatic Verbalizer를 활용한 프롬프트 기반의 준지도학습 기법 연구

고유경,김재희,강필성 대한산업공학회 2023 대한산업공학회 춘계학술대회논문집 Vol.2023 No.5

샤르댕의 아동 교육 장르화 - 18세기 프랑스 부르주아의 계몽주의적 아동관

고유경,Ko, Yu-Kyoung 한국미술이론학회 2009 미술이론과 현장 Vol.8 No.-

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.